Having abandoned girlish cute for sensual hurt, Lykke and sister take the stage black on black. From their danceable “I’m good I’m gone” to their “Sadness is a Blessing”, the audience gets tossed between feral chanting and fragile self-reflection in the matter of a few fleeting well-honed bridges.

Don’t let Lykke’s successful induction into the world of the Twilight Saga and Glee fool you. What she has going for her is an ever-growing ability to use her voice in odd ways and an ever-increasing penchant for brilliance and artistry.

With soaring arrangement, unrestrained emotion, and wholly idiosyncratic delivery,  My Shadow is another in the line of Jesse J classics in the making.

The song by Iconcrash is probably the most exciting genre to hit the Eurovision contest in the longest time. Putting a whole new spin on their innate brooding synth pop noir sound, Iconcrash has revamped its vision to make room for an anthem-like chorus, and an utterly uplifting vocal. The hypnotic and dance-friendly grooves are as much a paean to 80′s electro-pop as they are a nod to contemporaries like Posner and Imogen Heap.

With a mendacious bass line, a bouncy groove, and an affirmative chorus, the song takes one from angst to anticipation to expansive vision. The soaring incantatory quality of the work is nothing new to Jaani Peuhu, lead singer and composer of Iconcrash. Working in collaboration with NY poet Rory Winston, Peuhu’s references are laden with idiomatic nuances and sharp images. Though a political overtone and message appears to be present in the piece, there is little in it that is preachy or self-righteous. If anything, it is a call to join those who – like most of us – detest joining any particular group. As an anthem for the individual, it tells us that regardless what storm is brewing, our response should be one of feeling (empathizing, understanding) rather than one of explicit group action. The song is a celebration of Night and the defiance we show by living in the reality of our nocturnal feelings rather than in our daily tasks.

About the artists:

Jaani Peuhu is a composer, musician, long-time drummer and lead singer of Iconcrash. Jaani has been a Eurovision semifinalist before. In 2009 he had – together with Rasmus member Pauli Rantasalmi – co-written “10,000 Light Years”, a song for the band Kwan. Peuhu has also written soundtrack music as well as collaborated on melodies and productions for other renowned artists. In addition, Peuhu has produced tracks for games. With a lifelong devotion to music, Peuhu is ever-expanding his repertoire to include different styles of music. He is also keen on collaborating with very different artists.

Rory Winston is a playwright, poet, reviewer, radio personality, comedy writer, and published author who had penned lyrics for both international artists as well as for the Finnish bands Indica, Iconcrash, former Idol’s winner Pete Parkkonen and numerous others. Having turned down an offer to sign with Warner-Chappel Germany in 2010, Winston retains his status as an independent lyricist and has been working on the completion of a commissioned libretto. Being highly prolific and with varied interest, he works in multiple disciples and is adept in working in different genres and cultures.

Recent update:

The inside scoop is that the final version we will hear for the contest will have been reworked by Peuhu and Winston in terms of  an augmented and more pronounced vocal production with greater depth in counter-melody and groove.

In addition, this reviewer has learned that the lyrics themselves have undergone modification to allow for greater scope and a wider set of associations. It is clear that the two artists are quite ambitious in terms of vision; and both Peuhu and Winston are far more interested in creating a powerful song than merely settling for a staple Eurovision product.

To show your support for the song, you may press LIKE (or the Finnish equivalent Tyykaan) On this link:

We Are the Night

The song by Iconcrash is probably the most exciting genre to hit the Eurovision contest in the longest time. Putting a whole new spin on their innate brooding synth pop noir sound, Iconcrash has revamped its vision to make room for an anthem-like chorus, and an utterly uplifting vocal. The hypnotic and dance-friendly grooves are as much a paean to 80′s electro-pop as they are a nod to contemporaries like Posner and Imogen Heap.

With a mendacious bass line, a bouncy groove, and an affirmative chorus, the song takes one from angst to anticipation to expansive vision. The soaring incantatory quality of the work is nothing new to Jaani Peuhu, lead singer and composer of Iconcrash. Working in collaboration with NY poet Rory Winston, Peuhu’s references are laden with idiomatic nuances and sharp images. Though a political overtone and message appears to be present in the piece, there is little in it that is preachy or self-righteous. If anything, it is a call to join those who – like most of us – detest joining any particular group. As an anthem for the individual, it tells us that regardless what storm is brewing, our response should be one of feeling (empathizing, understanding) rather than one of explicit group action. The song is a celebration of Night and the defiance we show by living in the reality of our nocturnal feelings rather than in our daily tasks.

About the artists:

Jaani Peuhu is a composer, musician, long-time drummer and lead singer of Iconcrash. Jaani has been a Eurovision semifinalist before. In 2009 he had – together with Rasmus member Pauli Rantasalmi – co-written “10,000 Light Years”, a song for the band Kwan. Peuhu has also written soundtrack music as well as collaborated on melodies and productions for other renowned artists. In addition, Peuhu has produced tracks for games. With a lifelong devotion to music, Peuhu is ever-expanding his repertoire to include different styles of music. He is also keen on collaborating with very different artists.

Rory Winston is a playwright, poet, reviewer, radio personality, comedy writer, and published author who had penned lyrics for both international artists as well as for the Finnish bands Indica, Iconcrash, former Idol’s winner Pete Parkkonen and numerous others. Having turned down an offer to sign with Warner-Chappel Germany in 2010, Winston retains his status as an independent lyricist and has been working on the completion of a commissioned libretto. Being highly prolific and with varied interest, he works in multiple disciples and is adept in working in different genres and cultures.

Recent update:

The inside scoop is that the final version we will hear for the contest will have been reworked by Peuhu and Winston in terms of  an augmented and more pronounced vocal production with greater depth in counter-melody and groove.

In addition, this reviewer has learned that the lyrics themselves have undergone modification to allow for greater scope and a wider set of associations. It is clear that the two artists are quite ambitious in terms of vision; and both Peuhu and Winston are far more interested in creating a powerful song than merely settling for a staple Eurovision product.

To show your support for the song, you may press LIKE (or the Finnish equivalent Tyykaan) On this link:

We Are the Night

The song by Iconcrash is probably the most exciting genre to hit the Eurovision contest in the longest time. Putting a whole new spin on their innate brooding synth pop noir sound, Iconcrash has revamped its vision to make room for an anthem-like chorus, and an utterly uplifting vocal. The hypnotic and dance-friendly grooves are as much a paean to 80′s electro-pop as they are a nod to contemporaries like Posner and Imogen Heap.

With a mendacious bass line, a bouncy groove, and an affirmative chorus, the song takes one from angst to anticipation to expansive vision. The soaring incantatory quality of the work is nothing new to Jaani Peuhu, lead singer and composer of Iconcrash. Working in collaboration with NY poet Rory Winston, Peuhu’s references are laden with idiomatic nuances and sharp images. Though a political overtone and message appears to be present in the piece, there is little in it that is preachy or self-righteous. If anything, it is a call to join those who – like most of us – detest joining any particular group. As an anthem for the individual, it tells us that regardless what storm is brewing, our response should be one of feeling (empathizing, understanding) rather than one of explicit group action. The song is a celebration of Night and the defiance we show by living in the reality of our nocturnal feelings rather than in our daily tasks.

About the artists:

Jaani Peuhu is a composer, musician, long-time drummer and lead singer of Iconcrash. Jaani has been a Eurovision semifinalist before. In 2009 he had – together with Rasmus member Pauli Rantasalmi – co-written “10,000 Light Years”, a song for the band Kwan. Peuhu has also written soundtrack music as well as collaborated on melodies and productions for other renowned artists. In addition, Peuhu has produced tracks for games. With a lifelong devotion to music, Peuhu is ever-expanding his repertoire to include different styles of music. He is also keen on collaborating with very different artists.

Rory Winston is a playwright, poet, reviewer, radio personality, comedy writer, and published author who had penned lyrics for both international artists as well as for the Finnish bands Indica, Iconcrash, former Idol’s winner Pete Parkkonen and numerous others. Having turned down an offer to sign with Warner-Chappel Germany in 2010, Winston retains his status as an independent lyricist and has been working on the completion of a commissioned libretto. Being highly prolific and with varied interest, he works in multiple disciples and is adept in working in different genres and cultures.

Recent update:

The inside scoop is that the final version we will hear for the contest will have been reworked by Peuhu and Winston in terms of  an augmented and more pronounced vocal production with greater depth in counter-melody and groove.

In addition, this reviewer has learned that the lyrics themselves have undergone modification to allow for greater scope and a wider set of associations. It is clear that the two artists are quite ambitious in terms of vision; and both Peuhu and Winston are far more interested in creating a powerful song than merely settling for a staple Eurovision product.

To show your support for the song, you may press LIKE (or the Finnish equivalent Tyykaan) On this link:

We Are the Night

With soaring arrangement, unrestrained emotion, and wholly idiosyncratic delivery,  My Shadow is another in the line of Jesse J classics in the making.

Having abandoned girlish cute for sensual hurt, Lykke and sister take the stage black on black. From their danceable “I’m good I’m gone” to their “Sadness is a Blessing”, the audience gets tossed between feral chanting and fragile self-reflection in the matter of a few fleeting well-honed bridges.

Don’t let Lykke’s successful induction into the world of the Twilight Saga and Glee fool you. What she has going for her is an ever-growing ability to use her voice in odd ways and an ever-increasing penchant for brilliance and artistry.

The song by Iconcrash is probably the most exciting genre to hit the Eurovision contest in the longest time. Putting a whole new spin on their innate brooding synth pop noir sound, Iconcrash has revamped its vision to make room for an anthem-like chorus, and an utterly uplifting vocal. The hypnotic and dance-friendly grooves are as much a paean to 80′s electro-pop as they are a nod to contemporaries like Posner and Imogen Heap.

With a mendacious bass line, a bouncy groove, and an affirmative chorus, the song takes one from angst to anticipation to expansive vision. The soaring incantatory quality of the work is nothing new to Jaani Peuhu, lead singer and composer of Iconcrash. Working in collaboration with NY poet Rory Winston, Peuhu’s references are laden with idiomatic nuances and sharp images. Though a political overtone and message appears to be present in the piece, there is little in it that is preachy or self-righteous. If anything, it is a call to join those who – like most of us – detest joining any particular group. As an anthem for the individual, it tells us that regardless what storm is brewing, our response should be one of feeling (empathizing, understanding) rather than one of explicit group action. The song is a celebration of Night and the defiance we show by living in the reality of our nocturnal feelings rather than in our daily tasks.

About the artists:

Jaani Peuhu is a composer, musician, long-time drummer and lead singer of Iconcrash. Jaani has been a Eurovision semifinalist before. In 2009 he had – together with Rasmus member Pauli Rantasalmi – co-written “10,000 Light Years”, a song for the band Kwan. Peuhu has also written soundtrack music as well as collaborated on melodies and productions for other renowned artists. In addition, Peuhu has produced tracks for games. With a lifelong devotion to music, Peuhu is ever-expanding his repertoire to include different styles of music. He is also keen on collaborating with very different artists.

Rory Winston is a playwright, poet, reviewer, radio personality, comedy writer, and published author who had penned lyrics for both international artists as well as for the Finnish bands Indica, Iconcrash, former Idol’s winner Pete Parkkonen and numerous others. Having turned down an offer to sign with Warner-Chappel Germany in 2010, Winston retains his status as an independent lyricist and has been working on the completion of a commissioned libretto. Being highly prolific and with varied interest, he works in multiple disciples and is adept in working in different genres and cultures.

Recent update:

The inside scoop is that the final version we will hear for the contest will have been reworked by Peuhu and Winston in terms of  an augmented and more pronounced vocal production with greater depth in counter-melody and groove.

In addition, this reviewer has learned that the lyrics themselves have undergone modification to allow for greater scope and a wider set of associations. It is clear that the two artists are quite ambitious in terms of vision; and both Peuhu and Winston are far more interested in creating a powerful song than merely settling for a staple Eurovision product.

To show your support for the song, you may press LIKE (or the Finnish equivalent Tyykaan) On this link:

We Are the Night

A 3D film about 2 dimensional characters in a 1 dimensional band…? That’s what director Bruce Hendricks must have been thinking as he shot his second feature length film about the Jonas Brothers, a pop product dressed in music.

Once upon a time, Disney still had to pay writers to come up with scripts that gave them an excuse for spending a fortune on young stars and a vast range of special effects. Later, Disney would sink even larger fortunes into turning these fiascos into 3D films; all of which, of course, could justify even more expensive tickets. Then one day Disney got smart. They realized, why bother footing a creative bill when all one need do is spend a whole lot of money on 3D technology and simply record a popular teen band. Better yet, why bother following some Hanna Montana around on some road-movie like tour, when all it took to get an audience was doing a feature length promo film of a single concert. And this is just what Hendricks does when shooting the rising star phenomenon boy band in Jonas Brothers: the 3D concert experience (USA, 2009).

Let’s face it, Boy Bands are short-termed products. New Edition, Nysnc, Backstreet Boys, New Kids on the Block, Take That – aside from a few drug-related headlines about their former members, most of us know nothing about these bands today. With the exception of Justine Timberlake and Bobby Brown, the boy bands of today are no more than the small time producers, pity-part actors and eventual rehab celebs of tomorrow. As for the genre: a bit of cut and paste from R&B, a few lines of coke, a few tracks with Christian values and clarity in not having a vision, along with some soulless repetitive guitar riffs and what you have is bland sexuality, the form that would have been sneered at by the Jackson Five and even, that television created monstrosity of inanes the Partridge Family.

Still, for all the fakeness, their message comes across loud and clear in one of their own hit songs about the year 3000. Unlike the song 2525 which once asked if mankind will even be alive and was a lesson on a need for larger scope, the Jonas trio sees the future as a place where we are living under water and your great great granddaughter is doing just fine. In fact what is the meter they use to judge this advanced society:

I took a trip to the year 3000

This song had gone multi platinum

Everybody bought our seventh album.

It had outsold Kelly Clarkson.

What visionaries. But they’re only 22, 20 and 19 respectively, one might add. Yes, but then why do their concerns sound an awful lot like those of their far younger adolescent fans. And even more to the point, why are they more ambitions with their jumps, pyrotechnics, dancing and desperation in putting on a good show, when Hendricks gave up that dream several concerts back. Tried as I might to find some redeeming quality they can share with the youth of today, I wandered aimlessly through the foothills of Youtube and pitched my tent in several serial blogs devoted to the group. Not a peep about what they are trying to say, what they wish to represent, or what moves them. Instead there are cited values such as: Christianity, wholesomeness, and celibacy. As a Hard Day’s Night story, this is more of a soft night with a long day sequel. Since boy bands with a message is an oxymoron anyway, let’s just assume, they are less young people than they are a holy trinity of sorts – a manifestation of youth culture in iconographic form, manageable gods for the hordes who find solace in worshipping anything or anyone from and with the right labels.

1 stars